Wicked (movie) - Review

Rating: 4 out of 5

I HAVE to admit, the idea of Wicked in movie form - especially one split into two parts - felt like a bit of a stretch, even for someone that saw and loved the West End musical version from which this takes its inspiration.

Yet Jon M Chu's all-singing adaptation of Gregory Maguire's 1995 novel, Wicked: The Life and Times of the Wicked Witch of the West succeeds as a barnstorming crowd-pleaser that capably illustrates just why the stage version of the story became such a cultural phenomenon. What's more, beyond the explosion of pink and green (the proliferation of which would make both Barbie and Kermit the Frog jealous) it has something to say.

The story, for the uninitiated, puts an alternative take on the backstory of Elphaba, the iconic Wicked Witch from the Wizard of Oz. Rather than casting her as the villain, she's the outsider who has had to endure a lifetime of being misunderstood, judged and poked fun at, simply for being green.

Yet she is powerful, too, possessing a unique magical ability that captures the attentions of both Galinda, the vain but popular High School favourite, and Madame Morrible, the most formidable of all the teachers at Shiz University - the educational facility where all three converge, together with Elphaba's paraplegic younger sister, Nessarose, and the shallow, self-absorbed (by his own admission) Prince Fiyero.

Having started at the point almost where The Wizard of Oz ends (with news of the Wicked Witch's death), Chu's film then goes back in time to chronicle the relationship between Elphaba and Galinda - which begins in mutual dislike, blossoms into friendship, before becoming marked by betrayal.

It's something of a slow build, at times, punctuated by song and dance routines that occasionally interrupt the flow of the narrative - hardly surprising given that this first part is only five minutes shorter than the whole of the stage version itself - and some obvious past film references (such as Clueless).

But in spite of its self-indulgences, the film also possesses something magical of its own. It enchants, almost effortlessly at times.

Part of this lies in the strength of the performances, which are uniformly excellent. But it's also because of its ability to relate to anyone who feels marginalised, unseen or misunderstood in the same way as its protagonist. It's an underdog story, for sure, yet one that feels oddly, compellingly relevant.

Just as superheroes such as The X-Men have spoken to minority groups for the way in which they are able to rise above discrimination, so Elphaba's plight will resonate with many - not least for the way in which she not only has to navigate the usual cliques of playground bullies associated with stories of this type, but also the politicians and teachers who would seek to create a narrative around her for their own powerful gain. As a result, Wicked transcends its genre as only the best stories do.

Yet its ability to do so is enhanced by the aforementioned performances, which are given a lot of room to grow. 

Cynthia Erivo, in particular, is standout here, tapping into both Elphaba's fierce sense of self-worth and resolve, yet wearing the pain and distress of her sustained suffering for all to see. Her eyes are, at times, filled with the pain of a life that has dealt so many blows. Yet she also possesses a tremendous dignity that allows her to keep going and to speak up for those who don't have a voice (there is also a sub-plot involving animals that also bears resonance to the way in which society treats other demographics).

One standout sequence, in particular, finds Elphaba navigating her way through a humiliating party experience with the belated help of Galinda - it's sure to leave you in floods of tears. Ironic, perhaps, that the biggest and most powerful moment is also the most quiet in the whole film.

As Galinda, Ariana Grande arguably has the more showy role and one that, perhaps, boasts the easiest appeal to wide-eyed girls everywhere - her fashion sense, confidence and sense of purpose perhaps indicative of a society that places too much value on such materialistic things. She's almost a counter-Barbie, so self-absorbed with her own 'goodness' that she is blind to its shallow selfishness and inherent cruelties.

Grande plays the role perfectly - knowing, at times; naive to her arrogance at others. She's by turns bright, breezy, comically inept, yet dangerously controlling and attention-driven.

And in spite of all this, there's a tragedy underpinning the relationship between the two leads that lends extra weight to the power of the last act revelations (for part one, at least) - you'll care about what happens to both of them and rue some of the choices that are made.

Of note, performance-wise, too are the likes of Jonathan Bailey, fabulously self-absorbed yet slowly more questioning as the dashing Fiyero, Michelle Yeoh as the powerful Morrible, and Jeff Goldblum, playing to all of his strengths (both charming and devious) as the Wizard.

Chu's direction also deserves credit for maintaining such a consistent energy throughout (which makes it a shoe-in to become a timeless classic), while his decision to end the film where it does (with Defying Gravity as the finale song) ensures the film exits on a potent mix of triumph and tragedy - one that's sure to leave you in the midst of a dizzying emotional tornado, whilst simultaneously crying out for more.